November 14 - December 12, 2020
I am interested in religious architectures and decorations such as churches, temples, shrines and mosques, which are the inspirations for my works. Also, the sources of my works are substances, organisms and plants which are comprised of catenary curves, logarithmic spirals and fractal structures, the forms of stars that are composed of the law of the universe, the atoms that have the same law as that of the universe, the forms of molecules that atoms make, the forms of organisms and plants that molecules make.
I feel the similar impression and find the similar beauty among religious spaces, cosmos and nature. I think that’s because humans have awe and respect for nature, feel a supernatural power and decorate religious spaces and ritual sites for worship. Since humans are also parts of nature, they sense the laws of nature and the universe in their DNA and decorate to embody them.
I also feel the laws of nature and the universe in my DNA and continue to create patterns and forms that spring from my heart and soul. I totally immerse myself in creating works just like a prayer of religious ritual.
Process of Making Works
First, I make shapes by hand forming with coils or slip casting or throwing with porcelain or semi-porcelain. I change technique depending on the shape to make.
When the shapes are completed, I conduct process of biscuit firing, then applying glazes and firing at 1230 degrees. I use the glaze that does not peel off the overglaze painting. I apply an overglaze on the fired glaze to add a lot. If the glaze is not compatible, the overglaze peels off. The overglaze is fired twice: first fire at 800 degrees and second fire at 750 degrees, then gold painting is fired at 700 degrees.
The overglaze is mixed with glue and water. The glue is a Japanese traditional material that is made from seaweed. About 1 millimeter is embossed to paint the pattern. This technique comes from Banko-yaki, one of well-known ceramic designs in Japan. I learned this technique when I lived in Mie Prefecture, Japan.
Now I compose the overglazes by myself, as I want more colors for my works. After first firing I paint again and add more paintings on top of the first painting.
Finally, I draw very thin lines applying gold paint.
Shading is created by the unevenness of the overglazing, which represents an interesting texture and a mysterious feel is given by thin lines of gold paint.
1972 Born in Osaka, Japan
1996 Kyoto City University of Arts
The Encouragement Award of Reunion, Tomimoto Award-winner
1999 Gallery Maronie, Kyoto
2000 INAX Galleria Ceramica, Tokyo and Hokkaido
2001 INAX Tile Museum, Aichi
Masuda Studio, Tokyo
2002 Kobo IKUKO, Okayama
2013 YOU-Yuusya Gallery, Aichi (’07, ’12)
2015 ART NAGOYA 2015, YOU-Yuusya Gallery, Aichi
2017 Meguro Gallery, Mie (’03, ’06, ’09, ’11, ’14)
SILVER SHELL, Tokyo (’07, ’11, ’13, ’15)
2019 YOU-Yuusya Gallery SAPPORO, Hokkaido
2003 Flowers of Contemporary Ceramic Art -Focusing on Ceramists of Western Japan / Ibaraki Ceramic Art Museum, Ibaraki
2008 Saint Sex Spirit - Seducing Crafts - / Takashimaya Shinjuku Store, Tokyo
2009 Treasure to the Future / Takashimaya Nihombashi, Shinjuku, Osaka and Kyoto
The Power of Decoration, The Viewpoint on Contemporary Ceramics / Craft Gallery, The National Museum of Modern Art, Tokyo
2010 The 5th Paramita Museum Ceramic Art Grand Prize Exhibition / Paramita Museum, Mie
Touch Fire: Contemporary Japanese Ceramics by Women Artists / Smith College Museum, USA
2015 KOBE ART MARCHE / KOBE MERIKEN PARK ORIENTAL HOTEL, Hyogo
2016 SOFA CHICAGO / Smith College Museum, USA
2017 The Splendid Ceramics - The Expression of Seven Women Artists / Ginza WAKO, Tokyo
Nitten / The National Art Center, Tokyo
Tokoname City, Aichi Prefecture
Ishikawa Prefectural Kutani Ceramics Technical Research Center
Art Print Japan’s Art Shop in Tokyo International Forum
Smith College Museum, USA